Quote Originally Posted by graubär View Post
Slide film has a much higher dynamic range, which is also good for scanning-printing, because you can adjust the photo for print much better. That's why slide film used to be the reference material of pros in the old days. Exposure has to be precise, because the material can transfer precisely what you want and most light meters can do that. Negative film is less sensitive to exposure errors, which also means that it cannot transfer everything right. after scanning the colors come out perfect and saturated, because there is no conversion required.
I respectfully disagree as well. For "dynamic range" it is normally meant that portion of subject brightness range that can be recorded on film, or the length of the "blanket" sufficient to cover both the highlights and the shadows without burning the former of blocking the latter. That's higher for negatives.

What graubär means, probably, is that slide film itself - the product - has a higher density range than negative film. The higher dynamic range of the negative film is actually "compressed" in a shorter density range on film. That makes scanning easier (any scanner has a dynamic range sufficient to record the entire density range of a colour negative, not many scanners have the density range sufficient to record the entire density range of a slide frame) but than one must, so to speak, "uncompress" again this density range.

Also, the nature of the scanning process is such that scanning of a negative frame shows the noise mostly in the highlight region (where it is more disturbing) while scanning of slides shows the noise mostly in the shadows region, where it is less disturbing. It is also my experience that scans of slides look much more natural and convincing than scans of negatives, on screen.

White balancing of scans from slides is also much simpler than white balancing of scans from negatives. White balancing of a scan from a negative can be very (very) tricky if one doesn't use a proper colour-managed workflow. Negative film in theory should give higher colour precision but that is true only when a proper colour-managed workflow is used, both in an analogue workflow and in an hybrid workflow.